| المستخلص: |
كان لظهور الدين الإسلامي أثر عميق في تغيير وجه النظرة الجمالية لكل شيء في الحياة، حيث كان الفنان يهتم بالجوهر والاندفاع وراء المطلق للانتقال من المحدود إلى اللانهائية في أفق معنوي، يسمو بالنفس إلى عالم الجمال الروحاني، وقد كانت نظرة المسلمين إلى التذوق الجمالي لا تستند على الإدراك الحسي فحسب بل كانت ترتبط بما هو جميل، من خلال الإدراك الذهني الذي يكشف عن جمال المضمون، الذي يؤكد العلاقة المعنوية بين الفنان وبيئته، من خلال علاقته بالمسكن والمسجد حتى أصبحوا جزءاً لا يتجزأ من روحه، التي أفرزتها معطيات البيئة، ومنها الخرط العربي الدقيق (المشربية)، الذي وصل إلى درجة عالية من الدقة والإتقان، حتى تميز بدقة التفاصيل بما يناسب العقيدة الإسلامية، وأصبح الخرط العربي من المنتجات الإبداعية ذات الأشكال الهندسية من أهم مميزات الحضارة الإسلامية، وباعتبار أن الفراغ يعد عنصرا هاما من عناصر تكوين المشربية التي تتكون من مجموعة البرامق المخروطة بأشكال مختلفة.
The emergence of the Islamic religion has had a profound impact on changing the face of the aesthetic view of everything in life. The artist was interested in the essence and the rush towards the absolute to move from the finite to the infinite in a moral horizon which makes the self to rise to the spiritual beauty realm. The Muslims' view of aesthetic taste was not based on the sensual perception only,but on the relationship with all beautiful thinga through his mental perception that reveals the beauty of the content and ascertains the moral relationship between the artist and his surroundings through his relationship with the house and the mosque that became an integral part of his soul which was produced by the environment, including the precise Arabic lathing in the bay window (Mashrabiya) which has reached a high degree of accuracy and workmanship. Arabic lathing is distinguished with accurate and precise details to suit the Islamic faith and become one of the creative products of geometric shapes and of the most important features of Islamic civilization. The space is an important component of the composition of the Mashrabiya which consists of a group of lathed stained wood of different forms (Brameq). Hence, the problem of research which deals with the latent energy of the space dynamics resulting from the repetition of the 3-D Brameq forms through multiple spaces, which arise from the sensory mechanism in the realization of space that is recognized by the human mind as inputs emphasize the spatial dynamics in the formation of Mashrabiyats. However, most researchers and scholars deal with the space element from the perspective of the reciprocal relationship between form and ground without emphasizing the latent energy outputs of space dynamics, which led the artist to generate infinite new ideas through some creative design treatments to be used in the field of Arab carpentry. Thus, the research problem can be identified in the following question: How can the latent energy of the space dynamics be an aesthetic source in the Arab lathing? This research hypothesizes that the latent energy of the space dynamics is an aesthetic source in the Arab lathing. It aims to direct the interest in the Arab lathing in the design of modern carpentry products, with the disclosure of the latent energy in the space dynamics when building Mashrabiyats and achieving continuous communication between the past and present in the field of Arabic furniture. The limits of the research are confined to some selections from the Arabic lathing. The research depends on the descriptive analystic approach in a theoretical framework. The research importance is to work hard to revive the Arab lathing industry to increase the national income and to link the latent energy of the space dynamics with the field of Arab lathing as well as to seek to achieve authenticity and contemporary in the creation of the Arab lathing through the space dynamics.
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